Summary
Some turned ugly objects of our throwaway culture into highbrow art. Maire Kennedy's towers of Styrofoam bowls, stacked rim to rim, resemble enormous augers in "Awl." This impression is reinforced by their placement adjacent to Everson architect I.M. Pei's corkscrewing stairwell. Another of her works, "Soon," is a careful arrangement of spooning plastic spoons. seen from a balcony, individual spoons disappear, subsumed into a pattern of radiating circles like a bleached coral reef.
Art objects are often placeholders for some "real" thing. Rather than represent another "thing" a few artists alluded to complex patterns of thought. Richard Metzgar's arcane diagrams combine photographs, looping paths and textual data to record his urban explorations. Jen Pepper linked up a matrix of cheap plastic plaques with fine gold chains. The plaques are engraved with evocative non sequiturs like "BLACKENED HALOS," "BROKEN ENGLISH" and "IMAGE PULLED FLAT." They trickle down from the playful title plaque, "PAINTINGS PICTURED HERE." It's concrete poetry at its finest.On location: Images of upstate can be inferred from (clockwise from top) Amy Bartell's "Next", Emily Fleishe's vinyl and paper "Cow Pile" and Sarah . McCoubrey's "Another Quality Project: Building Lot."See the full content of this document
Extract
Empire Halls
Local artists submitting work to the Everson Biennial were asked to perform some mental gymnastics. The show, juried by independent curator Edward Winkleman, was organized around the theme of The Object and Beyond. The chal...
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